Category Archives: Science & Technology
Here’s a generous chunk of a really interesting and incisive blog post by author and Presbyterian pastor C. R. Wiley, who has been articulating interesting and incisive thoughts on religion, science, culture, Lovecraft, C. S. Lewis, and an associated network of ideas and writers for a some time now:
For [my scientist friends] the imagination is just a tool for problem solving. It’s not a window to view the real world through; it’s more a technique for envisioning ways out of conceptual impasses.
They’re unable to get past the factness of things. Meaning eludes them. . . .
When I ask my scientific friends, “what does it say?” (referring to any work of art) they look at me blankly. They seem to be unable to move from facts to meanings. Worse, they reduce meaning to facts in some sense. There’s a savanna theory for instance, which asserts with darwinian certitude that the reason some landscapes seem beautiful to us is because our prehistoric ancestors found savannas conducive to survival. (Darwinians have the same answer for everything, what C. S. Lewis is said to have called, “nothing-butterism”, meaning, whatever you think is the case can be reduced to “nothing but” survival.)
Seeing that the scientific method is a fairly recent phenomenon and we’ve had interest in meaning of things from the very beginning of recorded history, what is going on here?
I can’t help but believe something has gone wrong, that in the interest of understanding the world we’ve lost the world. The world is reduced to cause and effect, but its meaning is something we can no longer see.
FULL TEXT: “Is the Scientific Method a Form of Mental Illness?“
You may recall Wiley as the impetus behind one of the more popular posts here at The Teeming Brain in the past few years, “C. S. Lewis and H. P. Lovecraft on loathing and longing for alien worlds.” He’s well worth following. (For a relevant case in point, see his March blog post “H. P. Lovecraft, Evangelist of the Sublime.”)
For more on the mental illness that is scientism and the threat it poses to authentic imagination, see the following:
- Scientism, the fantastic, and the nature of consciousness
- The bias of scientism and the reality of paranormal experience
- Reclaiming Art in the Age of Artifice: An Interview with J. F. Martel
During a week when mummies are on everybody’s mind because of that widely circulated news story about the mummified Buddhist monk found in a Buddha statue, it’s nice to see that Library Journal has posted a review of my recently published Mummies around the World, which contains a long entry titled “Buddhist self-mummification” that’s written by Ron Beckett and Jerry Conlogue, the scientists and mummy experts who used to host National Geographic’s Mummy Road Show.
LJ’s verdict, I’m pleased to say, is positive:
This truly rollicking blend of scientific and pop culture offers facts ranging from actual methods of mummification to an entry on the 1955 movie Abbott and Costello Meet the Mummy and includes trivia-fact boxes. VERDICT: An educational and entertaining compendium that is recommended for all “mummymaniacs” everywhere.
MORE: Review of Mummies around the World (scroll to the bottom of the page)
A Google Books preview of my mummy encyclopedia is now available. At least from my end — and I know these previews tend to shift and alter sometimes — it shows the full table of contents (two of them, actually, one alphabetical and the other topically organized), the full preface and introduction, portions of the master timeline of mummies throughout history, and a few snippets of the book’s A-Z entries. For those of you who have been following my updates about this project over the past couple of years, here’s a glimpse of the final result.
The book is scheduled for publication on November 30. You can order it from the publisher or from all of the usual retail suspects (Amazon, Barnes & Noble, etc.). You’ll probably also find it in a library near you. And remember, you can view a full list of the book’s contributors with brief bios here.
I had considered titling this post “Philosophy slams Neil deGrasse Tyson,” but then I reconsidered. In case you haven’t heard, Tyson recently outed himself as a philistine. Or at least that’s how author and journalist Damon Linker characterizes it in an article titled, appropriately enough, “Why Neil deGrasse Tyson Is a Philistine.” In the words of the article’s teaser, “The popular television host says he has no time for deep, philosophical questions. That’s a horrible message to send to young scientists.”
What Linker is referring to is Tyson’s recent appearance as a guest on the popular Nerdist podcast. Beginning at about 20 minutes into the hour-long program, the conversation between Tyson and his multiple interviewers turns to the subject of philosophy, and Tyson speaks up to talk down the entire field. In fact, he takes pains to specify and clarify that he personally has absolutely no use for philosophy, which he views as a worthless distraction from other activities with real value.
Yes, it all sounds like it must be overstated in the retelling — but in point of fact, it’s not. Have a listen for yourself by clicking the link above, or else read his words here in this transcript of the program’s relevant portion. The comments from Tyson and his interviewers come right after they have been discussing the standardization of weights and measures. Note especially how Tyson not only dismisses philosophy but pointedly refuses to allow that there might be even a shred of validity or value in it. Read the rest of this entry
The above image is a photo of a Strandbeest. What, you may ask, is that? Here’s how its creator, the Dutch artist Theo Jansen (who can be seen in the photo as well), explains the matter:
Since 1990 I have been occupied creating new forms of life. Not pollen or seeds but plastic yellow tubes are used as the basic material of this new nature. I make skeletons that are able to walk on the wind, so they don’t have to eat. Over time, these skeletons have become increasingly better at surviving the elements such as storms and water, and eventually I want to put these animals out in herds on the beaches, so they will live their own lives.
If you wonder what this actual entails and looks like in action, see the video below. Be advised that it will probably stand as the coolest and most mind-blowing thing you’ll see all week, month, or maybe year:
Last summer Jansen visited the Peabody Essex Museum in Salem, Massachusetts, in preparation for the first major American exhibition of his work, which will be presented at the PEM in 2015 and titled “The Dream of the Strandbeest.” My sister Dinah is a writer for PEM, and here’s how she described his visit:
Prior to meeting the man behind the Strandbeest, my introduction was the same as most — gazing at online videos of the enormous beach-combing beasts, while trying to teleport myself to that peaceful beach in the Netherlands. From the first moment I saw the lifelike creatures walking their four-legged dog pace, I wondered whether the God-like figure behind these post-apocalyptic-looking critters could likely change the world.
. . . In a roomful of PEM staff, Jansen shared how a Strandbeest works with pistons that act like muscles. Constructed of plastic tubes and recycled water bottles, the creature has a purpose beyond its more obvious one of being beautiful and mysterious. They are built to harness wind power and save eroding beaches. They detect atmospheric pressure and are designed to “pin themselves to the ground” to survive storms. Jansen spends his mornings coming up with difficult algorithms in the workshop, before biking 50 kilometers to the beach to try them out. By the end of the day, he said, the design works or it doesn’t. “The tubes point you in a certain way,” he says. “I’m surprised by how beautiful they are.”
. . . Jansen recently shared the genetic code of the Strandbeest on the web and is proud of the resulting designs in wood, out of Legos, in materials imagined by children and adults, so that the average person can be “infected” with the compulsion to create a Strandbeest. This is how they masterfully reproduce, he points out, adding that he eventually wants to put them out on the beach in herds, so that they can live on their own.
“Maybe it’s only a fairytale in my head . . . a surviving animal on the beach,” he said. “These are all designed for that. Maybe before I die, these animals will be there. This is my horizon, you could say.”
MORE: “Stunning Strandbeests“
Image by Roel via Flickr under Creative Commons
The mummified body of a Pre-dynastic Egyptian man known as Gebelein Man (formerly called Ginger) in the British Museum
Editing the mummy encyclopedia over the past year and a half has left me with a still-active internal radar that scans the media incessantly for mummy-related news, and a recent (May 20) piece in The Independent about a new exhibition at the British Museum titled “Ancient Lives, New Discoveries: Eight Mummies, Eight Stories” lit up the screen last week like an approaching aircraft carrier.
The teaser conveys the gist:
A blockbuster exhibition at the British Museum unwraps the mysteries of 5,000-year-old Egyptian mummies. Zoe Pilger is fascinated — but not sure they should be on show at all.
The article itself takes the form of an absorbing report in which Ms. Pilger, in addition to describing the exhibition’s content and execution in vivid detail, briefly summarizes the history of scientific mummy studies and the cultural phenomenon of “mummymania” that was ignited by the opening of Tutankhamun’s tomb in 1922.
She talks about mummy unrollings (the popular practice of unwrapping mummies as a public spectacle in the nineteenth and early twentieth centuries), the cultural myth of a “mummy curse,” the incorporation of the curse motif into Universal Studios’ classic 1932 film The Mummy, the use of image scanning technologically (specifically, CT scans) to conduct non-invasive examinations of mummies, the ancient naturally mummified Egyptian body known as Gebelein Man, Margaret Murray’s famous unwrapping of an Egyptian mummy in front of a crowd of 500 onlookers at the Manchester Museum, and the troubling ethical questions that surround the act of examining and displaying human remains like this at all.
Each of these issues is also talked about at length and in detail in the mummy encyclopedia, the last of them (the ethical conundrum) in two separate articles, one titled “Displaying Mummies,” by scientist and mummy researcher Heather Gill-Frerking and the other titled “Collecting Mummies,” by literary scholar Richard Sugg (author of 2011′s Mummies, Cannibals and Vampires: The History of Corpse Medicine from the Renaissance to the Victorians).
I couldn’t help but be impressed at the way Ms. Pilger’s article, in the space of just 1300 words, offers an excellent primer on many crucial issues related to mummies and their scientific and cultural uses. I highly recommend reading the whole thing. Here’s a taste:
The first mummy on display is extraordinary. It seems charged with a supernatural energy and I half expected it to wake up. This young man was in his twenties or early thirties when he curled up into a foetal position and died. He was buried in a cemetery in Gebelein, Upper Egypt, and naturally mummified by the dry, hot sand. His remains are 5,000 years old but his presence is vivid. Most of his skin has been preserved: it covers his delicate bones. His feet are drawn up to his chest and his hands are cupped under his chin, as though pleading. He seems vulnerable, lit in a glass case in a dark room like a relic. He has been transformed into an object and put on display. To look at him provokes a primal feeling of horror. This is death made real.
. . . These bodies were not designed to be seen. There is a tyrannical tendency in Western culture to try to know everything — to decode, demystify, and disenchant even the most sacrosanct of secrets. A fascination with the “magic” of other cultures is coupled with a rationalist incredulity. We don’t believe, and yet we can’t stop investigating — historically, through violent methods. The curators of this exhibition seem aware of this danger. Rather than crude unwrappings as a form of public entertainment, these mummies are explored with scientific rigour and respect. Instead of revulsion, we are encouraged to feel a sense of shared humanity; they are dignified through the small detail of daily life — from the wigs they wore to the beer they drank. However, there is a feeling that they do not belong to us and should not be here.
Image: Photo of Gebelein Man by Jack1956 at the English language Wikipedia [GFDL (http://www.gnu.org/copyleft/fdl.html), CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0/) or GFDL (http://www.gnu.org/copyleft/fdl.html)], via Wikimedia Commons
I’m pleased to announce that my mummy encyclopedia is now available for preorder from the publisher, and also from Amazon, Barnes & Noble, and elsewhere. The scheduled publication date is November 30.
From the official publisher’s description:
Perfect for school and public libraries, this is the only reference book to combine pop culture with science to uncover the mystery behind mummies and the mummification phenomena.
Mortality and death have always fascinated humankind. Civilizations from all over the world have practiced mummification as a means of preserving life after death — a ritual which captures the imagination of scientists, artists, and laypeople alike. This comprehensive encyclopedia focuses on all aspects of mummies: their ancient and modern history; their scientific study; their occurrence around the world; the religious and cultural beliefs surrounding them; and their roles in literary and cinematic entertainment.
Author and horror guru Matt Cardin brings together 130 original articles written by an international roster of leading scientists and scholars to examine the art, science, and religious rituals of mummification throughout history. Through a combination of factual articles and topical essays, this book reviews cultural beliefs about death; the afterlife; and the interment, entombment, and cremation of human corpses in places like Egypt, Europe, Asia, and Central and South America. Additionally, the book covers the phenomenon of natural mummification, where environmental conditions result in the spontaneous preservation of human and animal remains.
Here’s an excerpt (slightly condensed) from my introduction to the book: Read the rest of this entry
Here’s a double dose of dystopian cheer to accompany a warm and sunny Monday afternoon (or at least that’s the weather here in Central Texas).
First, Adam Kirsch, writing for The New Republic, in a piece dated May 2:
Everyone who ever swore to cling to typewriters, record players, and letters now uses word processors, iPods, and e-mail. There is no room for Bartlebys in the twenty-first century, and if a few still exist they are scorned. (Bartleby himself was scorned, which was the whole point of his preferring not to.) Extend this logic from physical technology to intellectual technology, and it seems almost like common sense to say that if we are not all digital humanists now, we will be in a few years. As the authors of Digital_Humanities write, with perfect confidence in the inexorability — and the desirability — of their goals, “the 8-page essay and the 25-page research paper will have to make room for the game design, the multi-player narrative, the video mash-up, the online exhibit and other new forms and formats as pedagogical exercises.”
. . . The best thing that the humanities could do at this moment, then, is not to embrace the momentum of the digital, the tech tsunami, but to resist it and to critique it. This is not Luddism; it is intellectual responsibility. Is it actually true that reading online is an adequate substitute for reading on paper? If not, perhaps we should not be concentrating on digitizing our books but on preserving and circulating them more effectively. Are images able to do the work of a complex discourse? If not, and reasoning is irreducibly linguistic, then it would be a grave mistake to move writing away from the center of a humanities education.
. . . The posture of skepticism is a wearisome one for the humanities, now perhaps more than ever, when technology is so confident and culture is so self-suspicious. It is no wonder that some humanists are tempted to throw off the traditional burden and infuse the humanities with the material resources and the militant confidence of the digital. The danger is that they will wake up one morning to find that they have sold their birthright for a mess of apps.
Second, Will Self, writing for The Guardian, in a piece also dated May 2:
The literary novel as an art work and a narrative art form central to our culture is indeed dying before our eyes. Let me refine my terms: I do not mean narrative prose fiction tout court is dying — the kidult boywizardsroman and the soft sadomasochistic porn fantasy are clearly in rude good health. And nor do I mean that serious novels will either cease to be written or read. But what is already no longer the case is the situation that obtained when I was a young man. In the early 1980s, and I would argue throughout the second half of the last century, the literary novel was perceived to be the prince of art forms, the cultural capstone and the apogee of creative endeavour. The capability words have when arranged sequentially to both mimic the free flow of human thought and investigate the physical expressions and interactions of thinking subjects; the way they may be shaped into a believable simulacrum of either the commonsensical world, or any number of invented ones; and the capability of the extended prose form itself, which, unlike any other art form, is able to enact self-analysis, to describe other aesthetic modes and even mimic them. All this led to a general acknowledgment: the novel was the true Wagnerian Gesamtkunstwerk.
. . . [T]he advent of digital media is not simply destructive of the codex, but of the Gutenberg mind itself. There is one question alone that you must ask yourself in order to establish whether the serious novel will still retain cultural primacy and centrality in another 20 years. This is the question: if you accept that by then the vast majority of text will be read in digital form on devices linked to the web, do you also believe that those readers will voluntarily choose to disable that connectivity? If your answer to this is no, then the death of the novel is sealed out of your own mouth.
. . . I believe the serious novel will continue to be written and read, but it will be an art form on a par with easel painting or classical music: confined to a defined social and demographic group, requiring a degree of subsidy, a subject for historical scholarship rather than public discourse. . . . I’ve no intention of writing fictions in the form of tweets or text messages — nor do I see my future in computer-games design. My apprenticeship as a novelist has lasted a long time now, and I still cherish hopes of eventually qualifying. Besides, as the possessor of a Gutenberg mind, it is quite impossible for me to foretell what the new dominant narrative art form will be — if, that is, there is to be one at all.
Image: Painting: John White Alexander (1856–1915); Photo: Andreas Praefcke (Own work (own photograph)) [Public domain or Public domain], via Wikimedia Commons
In my recent post about Jeff Kripal’s article “Visions of the Impossible,” I mentioned that biologist and hardcore skeptical materialist Jerry Coyne published a scathing response to Jeff’s argument soon after it appeared. For those who would like to keep up with the conversation, here’s the heart of Coyne’s response (which, in its full version, shows him offering several direct responses to several long passages that he quotes from Jeff’s piece):
For some reason the Chronicle of Higher Education, a weekly publication that details doings (and available jobs) in American academia, has shown a penchant for bashing science and promoting anti-materialist views. . . . I’m not sure why that is, but I suspect it has something to do with supporting the humanities against the dreaded incursion of science — the bogus disease of “scientism.”
That’s certainly the case with a big new article in the Chronicle, “Visions of the impossible: how ‘fantastic’ stories unlock the nature of consciousness,” by Jeffrey J. Kripal, a professor of religious studies at Rice University in Texas. Given his position, it’s not surprising that Kripal’s piece is an argument about Why There is Something Out There Beyond Science. And although the piece is long, I can summarize its thesis in two sentences (these are my words, not Kripal’s):
“People have had weird experiences, like dreaming in great detail about something happening before it actually does; and because these events can’t be explained by science, the most likely explanation is that they are messages from some non-material realm beyond our ken. If you combine that with science’s complete failure to understand consciousness, we must conclude that naturalism is not sufficient to understand the universe, and that our brains are receiving some sort of ‘transhuman signals.'”
That sounds bizarre, especially for a distinguished periodical, but anti-naturalism seems to be replacing postmodernism as the latest way to bash science in academia.
. . . But our brain is not anything like a radio. The information processed in that organ comes not from a transhuman ether replete with other people’s thoughts, but from signals sent from one neuron to another, ultimately deriving from the effect of our physical environment on our senses. If you cut your optic nerves, you go blind; if you cut the auditory nerves, you become deaf. Without such sensory inputs, whose mechanisms we understand well, we simply don’t get information from the spooky channels promoted by Kripal.
When science manages to find reliable evidence for that kind of clairvoyance, I’ll begin to pay attention. Until then, the idea of our brain as a supernatural radio seems like a kind of twentieth-century alchemy—the resort of those whose will to believe outstrips their respect for the facts.
Full article: “Science Is Being Bashed by Academic Who Should Know Better“
(An aside: Is it just me, or in his second paragraph above does Coyne effectively insult and dismiss the entire field of religious studies and all the people who work in it?)
Jeff responded five days later in a second piece for the Chronicle, where he met Coyne’s criticisms head-on with words like these: Read the rest of this entry
Life guidance from Edward O. Wilson: ‘Search until you find a passion and go all out to excel in its expression’
Edward O. Wilson, 2003
Edward O. Wilson is of course most famous as the seminal thinker, author, scientist, and figure in the field of sociobiology, which he defined in his 1975 book Sociobiology: The New Synthesis as the “systematic study of the biological basis of all social behavior.” Although there are many valid criticisms to be made, and that have been made, of the scientific reductionism that is built into sociobiology, this doesn’t mean Wilson isn’t a fascinating and inspiring figure in his own way, and these qualities come out beautifully in a recent interview that he gave to the Harvard Gazette.
The conversation ends on a high note as Wilson reflects on his lifelong excitement over the field of biology and offers some piercingly excellent advice — framed in terms of science but applicable on a wider basis — for students and young people in search of a life calling:
Q: What is most exciting about your field right now?
A: I haven’t changed since I was a 17-year-old entering the University of Alabama. I’m still basically a boy who’s excited by what’s going on. We are on a little-known planet. We have knowledge of two million species, but for the vast majority we know only the name and a little bit of the anatomy. We don’t know anything at all about their biology. There is conservatively at least eight million species in all, and it’s probably much more than that because of the bacteria and archaea and microorganisms we’re just beginning to explore. The number of species remaining to be discovered could easily go into the tens of millions.
. . . Q: What lessons can a young student starting out today, looking at your career and thinking, “I want to make an impact like that” — what lessons can he or she extract from your life?
A: It almost sounds trite, you hear it so often, but you don’t see enough of it in college-age students, and that is to acquire a passion. You probably already have one, but if you haven’t got one, search until you find a passion and go all out to excel in its expression. With reference to biology and science, do the opposite of the military dictum and march away from the sound of guns. Don’t get too enamored by what’s happening right at this moment and science heroes doing great things currently. Learn from them, but think further down the line: Move to an area where you can be a pioneer.